In this post, I will be finishing up my “slow reading” of the introduction to Gilles Deleuze’s Difference and Repetition (a project I began last summer!). In the coming months, I will continue working my way through DR and its meaty opening chapters, though I will also be commencing a second slow reading project that will work paragraph-by-paragraph …

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In this post, I will be finishing up my “slow reading” of the introduction to Gilles Deleuze’s Difference and Repetition (a project I began last summer!). In the coming months, I will continue working my way through DR and its meaty opening chapters, though I will also be commencing a second slow reading project that will work paragraph-by-paragraph …

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The last two paragraphs of this section may, in fact, contain Deleuze’s most compellingly positive theorization of repetition (at least up to this point), though his argumentative moves are still difficult to parse. “Theatre is real movement,” he writes, not just in essence but in action: “it extracts real movement from all the arts it employs” …

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The last two paragraphs of this section may, in fact, contain Deleuze’s most compellingly positive theorization of repetition (at least up to this point), though his argumentative moves are still difficult to parse. “Theatre is real movement,” he writes, not just in essence but in action: “it extracts real movement from all the arts it employs” …

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24 June 2013 Two days ago I posted some thoughts on the first two paragraphs of Deleuze’s introduction to Difference and Repetition. Though I thought I could cover the next two paragraphs in a single post, I will definitely have to limit myself just to the third one. Re-emphasizing his earlier designation of repetition as …

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